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Briefing
A Practical Guide to the
RIBA Plan of Work 2013
Stages 7, 0 and 1

Paul Fletcher and

Hilary Satchwell
Contents

Foreword The scenarios

v x
Series editor’s foreword The in-text boxed features
vi–vii xi
The authors The RIBA Plan of Work 2013
viii xii–xiii
The series editor Introduction
ix xiv–xviii
Acknowledgements
ix
01 Starting Stages 7, 0 and 1
1–19

02 Stage 7 In Use
21–63

03 Stage 0 Strategic Definition

65–111

04 Stage 1 Preparation and Brief

113–173

05 Conclusion
175–179

Plan of Work glossary

180–183

Index
184–188
© RIBA Enterprises, 2015

Published by RIBA Publishing,

66 Portland Place, London, W1B 1AD

ISBN 978 1 85946 570 7

Stock code 83008

The right of Paul Fletcher and Hilary Satchwell to

be identified as the Authors of this Work has been
asserted in accordance with the Copyright, Design
and Patents Act 1988, sections 77 and 88.

All rights reserved. No part of this publication

may be reproduced, stored in a retrieval system,
or transmitted, in any form or by any means,
electronic, mechanical, photocopying, recording or
otherwise, without prior permission of the copyright
owner.

British Library Cataloguing in Publications Data

A catalogue record for this book is available from
the British Library.

Commissioning editor: Sarah Busby

Production: Michèle Woodger
Designed and typeset by: Alex Lazarou
Printed and bound by: CPI
Cover image: © stock.xchng

While every effort has been made to check the

accuracy and quality of the information given in this
publication, neither the Author nor the Publisher
accept any responsibility for the subsequent use of
this information, for any errors or omissions that it
may contain, or for any misunderstandings arising
from it.

RIBA Publishing is part of RIBA Enterprises Ltd.

www.ribaenterprises.com
 Briefing
A PRACTICAL guIDE To RIBA PLAN oF WoRk 2013
STAgES 7, 0 AND 1

foreword

Historically members of the project team tended to treat every project as a

bespoke experience for themselves, their clients and the end users of their
buildings. Information and evidence gathering from the project was pushed
aside at the joy of building handover.

We rarely learned, with any structured information gathering strategy, the

lessons on offer in order to improve the outcome for the next projects.
A building which appears not to function as expected is submerged as
something for the design or construction team to be ashamed of. under-
performing building elements or difficulties in use are seen as mistakes,
rather than as constructive experiences or opportunities to improve the
building for its future users, or to inform new projects.

The 2013 Plan of Work was structured to change this, and the industry
should welcome this step change in the way we work. We need to grasp
this nettle firmly, and work with our teams, clients and users to create more
resilient buildings, to view the construction process running through whole
life in use, and to create continuously improving outcomes.

This book, the first in a series of three guides to using the RIBA Plan of Work
2013, explains the means by which, using stages 7, 0 and 1, the process
of learning and continuous improvement can develop using analytical tools
and collection of data to provide for shared knowledge.

No client could fail to be seduced by a system which manages the process

so well, commences with a structured review of their needs and objectives,
assesses their business case, reduces their costs, and demonstrates how to
improve their buildings in use.

This helpful publication provides clarification for the team to ensure that the
client’s vision and objectives are met. This is a working guide, informing the
reader throughout the process of data gathering, setting and agreeing the
brief, in preparation for the design stages of a project.

This is the essential guide to changing our industry for the better. I urge you
to read and digest its unassailable logic.

jane duncan
RIBA President Elect

v
Briefing
A PRACTICAL guIDE To RIBA PLAN oF WoRk 2013
STAgES 7, 0 AND 1

Series editor’s foreword

The RIBA Plan of Work Stage guides are a crucial accompaniment to the
RIBA Plan of Work 2013. The plan’s format cannot communicate or convey
the detail behind every term in the plan and this series provides essential
guidance by considering, in depth, the reasoning and detail behind many
new and reinvigorated subjects linking these to practical examples. The
series is comprised of three titles which each concentrate on distinct stages
in the Plan of Work. The first is Briefing by Paul Fletcher and Hilary Satchwell
which covers Stages 7, 0 and 1. The second is Design by Tim Bailey and
this covers Stages 2 and 3. The third is Construction by Phil Holden and
covers Stages 4, 5 and 6. Subjects explored include how to assemble the
most appropriate and effective project team and how to develop the best
possible brief. The series also considers how to deal with the cultural shifts
arising from a shift from “analogue” to transformational “digital” design
processes as our industry begins to absorb the disruptive technologies that
are changing many different and diverse sectors beyond recognition.

The RIBA Plan of Work 2013 drives a shift towards richer and bigger data
which can be harnessed to create better whole life outcomes and thus
significant additional benefits to clients and users. The first book in the
series, Briefing, considers how the new project stages (0 and 7) will add
value over the lifetime of a project as greater emphasis is placed on more
resilient designs where whole life considerations are embedded into the
early design stages. With this in mind the series emphatically starts with
Stage 7 placing emphasis on the importance of learning from previous
projects via feedback and in the future via data analytics. This initial chapter
also sets out how post occupancy and building performance evaluations
can be harnessed to inform the Business Case during Stage 0 underlining
that big data will provide paradigm shifts in how to extract feedback from
newly completed or existing projects, including historic buildings, to help
better decision making in the early project stages.

More specifically, Paul and Hilary’s book considers new Stage 7 to 0

activities that will result in exciting new services in the future. These will
ensure that the client’s brief is robust and properly considered providing the
best possible platform for the design stages. This publication also considers
the importance of site appraisals at Stage 0 and how Feasibility Studies can

vi
 Briefing
a practical guide to riba plan of work 2013
Stages 7, 0 and 1

assist and add value at Stage 1 to the briefing process before the design
process commences in earnest at Stage 2. In every stage there is added
emphasis around Information Exchanges and the importance of considering
who does what when at the outset of a project.

Although the core design stages (2 and 3) have not significantly changed,
Tim Bailey’s book, Design, looks at how they might be adjusted and better
focused to provide greater client emphasis at Stage 2 allowing the lead
designer to take centre stage at Stage 3. During this stage greater emphasis
is placed on the production of a co-ordinated design: the design team
should be focused on the work required to verify that the Concept Design
is robust and suitable for making a Planning application. In both stages
new methods of communicating the progressing design create exciting
new opportunities but at the same time require an examination of how
to effectively manage the design process using tools such as the Design
Programme to manage what is an iterative process.

Finally, Phil Holden’s book, Construction, considers the complexities of

Stage 4 which is “sliced and diced” in different ways depending on the
procurement route and the extent of design work undertaken by the
specialist subcontractors employed by the contractor. He considers how
the Design Programme for this change might alter to reflect different
procurement routes and how this stage typically overlaps with construction
(Stage 5). Handing over projects is becoming increasing complex and
users now realise that the handover process can impact on successful
operation and use of their buildings. Phil considers how the handover
process is changing, placing greater emphasis on the user’s needs. His
Stage 6 narrative considers how building contracts might adapt to this
new environment placing greater emphasis on whole life matters including
achieving better project outcomes rather than focusing on the closure solely
of contractual matters and construction defects.

Five project scenarios weave through the series providing some practical
examples of how the different stages of the plan of work might be
interpreted on projects of differing scales, sectors, complexity using different
procurement routes, providing a consistent thread through all of the books.

In summary, the series provides excellent additional guidance on how

to use the RIBA Plan of Work 2013 allowing anyone involved in the built
environment to understand and use the plan more effectively with the goal
of achieving better whole life outcomes.

vii
Briefing
A PRACTICAL guIDE To RIBA PLAN oF WoRk 2013
STAgES 7, 0 AND 1

the authors

Paul fletcher is a thought leader, architect and director of ‘through...’, a

built-environment consultancy that combines behavioural economics with
building physics and architecture. Whilst studying at Sheffield university he
co-developed new collaborative studio-teaching methods empowered by
3D CAD. In 2000 he founded ‘Teamwork’, a pan-industry ‘learning by doing
organisation’ that explored innovation in multidisciplinary working for a better
built environment, as fuelled by Building Information Modelling (BIM). More
recently he established the industry think tank ‘Whetstone’ with the intent of
sharpening the cutting edge of a 21st-century industry through cooperative
processes, big data, social media and ‘everyware’ technologies. It focuses
on enabling built-environment outcomes that serve and empower a diverse
and thriving society. Paul has been an RIBA national councillor and is an
acknowledged expert on briefing, concept and feasibility studies as well as
integrated working and client-focused design solutions.

hilary Satchwell is Director of Tibbalds Planning and urban Design, a

well-established multidisciplinary practice of highly experienced planners,
urban designers and architects. She is an architect and urban designer with
nearly 20 years experience of strategically defining projects, leading large
scale master-planning, and coordinating multisciplinary teams to deliver
high-quality mixed use schemes. Much of her work focuses on ensuring
that projects are set up well, concentrating on strategic definition, briefing,
and positive engagement with the planning system to ensure good design
and good place-making are delivered. Hilary’s master-planning and lead
consultant work has demonstrated her creative leadership and her ability
to draw together the often conflicting objectives of a multi-architect and
multidisciplinary team to create a clear, strategic vision. She currently sits on
the RIBA’s Construction Leadership group, has advisory roles on a number
of Design Review Panels, and has undertaken research for the Commission
for Architecture and the Built Environment (CABE) on the role of design
infrastructure in the delivery of housing growth.

viii
 Briefing
A PRACTICAL guIDE To RIBA PLAN oF WoRk 2013
STAgES 7, 0 AND 1

the series editor

dale Sinclair is Director of Technical Practice for AECoM’s architecture team

in EMEA. He is an architect and was previously a Director of Dyer and an
Associate Director at BDP. He has taught at Aberdeen university and the
Mackintosh School of Architecture and regularly lectures on BIM, design
management and the RIBA Plan of Work 2013. He is passionate about
developing new design processes that can harness digital technologies,
manage the iterative design process and improve design outcomes.

He is currently the RIBA Vice President, Practice and Profession, a trustee

of the RIBA Board, a uk board member of BuildingSMART and a member
of various Construction Industry Council working groups. He was the editor
of the BIM overlay to the outline Plan of Work 2007, edited the RIBA
Plan of Work 2013 and was author of its supporting tools and guidance
publications: guide to using the RIBA Plan of Work 2013 and Assembling
a Collaborative Project Team.

acknowledgements

I am very grateful to all the clients and colleagues, especially those within
‘Whetstone’ who have helped me hone and understand the key distinction
between outputs and outcomes in the context of the Built Environment.
There are too many to list! However a specific thank you is owed to Tom
kordel for his contribution to chapter 02. Paul fletcher

I would like to thank the Plan of Work 2013 development team for bringing
clarity to the early stages of building projects. Also, particular credit is due
to the clients and project teams that I have been able to work over
many years on projects at these early stages for allowing the knowledge
contained here to develop. Lastly I would like to thank those involved in
the procurement reform group discussions during 2013 for refocusing my
thoughts on project briefing and its link with client decision making and
project outcomes. hilary Satchwell

ix
Briefing
A PRACTICAL guIDE To RIBA PLAN oF WoRk 2013
STAgES 7, 0 AND 1

the scenarios

Throughout the series five projects of different scale, sector and complexity have
been used to illustrate the practical impact of the RIBA Plan of Work 2013. These
look at how different projects may need to deal differently with a range of issues
that could arise. These are not intended to be definitive examples of what to do,
or what not to do, but to aid understanding of the plan of work and how different
approaches may be adopted at each stage to support better project outcomes.
They are:

• Scenario a: an extension to a four-bedroom house in a rural location.

This project is for a private client and has a budget of £250k. The design team
have been selected by recommendation from friends and are appointed to help
the client develop the brief. The chosen procurement route is the traditional
procurement of a contractor by the client.
• Scenario B: a small scale housing development for a local developer on
the outskirts of a large city. The value of the project is £1.5million and the
client is a small but well established family business. Both the design team and
the contractor are to be selected by informal tender with previous experience
and pricing core evaluation factors. The procurement route is also traditional.
• Scenario C: the refurbishment of a teaching building for a University
which has a large portfolio of buildings. The value of the project is
between £5million – £6million. The design team are selected following a mini
competition. The procurement route is single stage design and build with the
design team being novated to the contractor.
• Scenario d: a new central library for a medium sized local authority.
Following the development of the brief including Feasibility Studies produced
by a directly appointed team on the Council’s Consultant Framework the
project is tendered to select the design team for the next stages. The
contractor is to be selected following a two stage design and build process
and will appoint their own design team. The original design team is to be
retained by the council as advisors.
• Scenario e: a large office scheme for a high tech internet based company
wanting to establish themselves as major players in the industry with
a high profile new base. Valued at £18 million - £20 million this project is
procured using a management form of contract due to the urgent need to
occupy the building.

At the end of each Stage in the book there is a status check on the five projects
where the impact of the work and decisions made during that stage are illustrated.
Within each chapter these scenarios are used to identify key points and examples.

x
 Briefing
A PRACTICAL guIDE To RIBA PLAN oF WoRk 2013
STAgES 7, 0 AND 1

the in-text boxed features

We have also included several in-text boxed features to enhance your

understanding of the Plan of Work stages and their practical application.

The following key will explain what each icon means and why each feature is
useful to you:

The ‘Example’ feature explores an example from practice, either real

or theoretical, and often utilizing the project scenarios.

The ‘Hints and Tips’ feature dispenses pragmatic advice and

highlights common problems and solutions.

The ‘Definition’ feature explains key terms in more detail.

xi
Briefing
A PRACTICAL guIDE To RIBA PLAN oF WoRk 2013
STAgES 7, 0 AND 1

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xii
 the riBa Plan of worK 2013

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xiii
Briefing
A PRACTICAL guIDE To RIBA PLAN oF WoRk 2013
STAgES 7, 0 AND 1

introduction

The RIBA Plan of Work 2013

The RIBA Plan of Work 2013 organises the process of briefing, designing,
constructing, maintaining, operating and using building projects into a
number of key stages. It details the general tasks and outputs required
at each stage and as they may overlap or vary to suit specific project
requirements. The definition of each stage is pivotal, because the stages
act as milestones for agreeing and signing off deliverables, establishing
professional services appointments and determining the activities of the
many parties involved.

Introducing the Stage Guides series

This book is the first in a series of three stage guides to the RIBA Plan of
Work 2013. It is a guide to Stages 7, 0 and 1 and deals with briefing as
one of the key elements of the continuous cycle of briefing, designing,
constructing that characterise good building projects. It is specifically about
those stages that relate to the collection, review and analysis of information
to inform a potential building project and ensure that the right decisions are
made.

This book covers three stages of the Plan of Work 2014, each concerned
with a different aspect of the briefing process:

• Stage 7: the period when buildings are in use, as information is

gathered, disseminated, analysed, assessed and reviewed in order to
inform how a building is performing, to assess its continued viability or
to inform an entirely new project.
• Stage 0: when a potential need for a building or project is being
considered and defined by a client in terms of their strategic needs and
business case.
• Stage 1: as the Initial Project Brief is put together for the project; its
feasibility is tested; and the requirements of the project, in terms of
the team needed to deliver it and the activities they will undertake to
complete, it are being defined.

The second book in the series – A guide to Stages 2 and 3 – describes

what happens next, the development of a project from an Initial Project
Brief into Concept Design and through Developed Design. It establishes the
content of many of the project strategies and tools that are required to be
used and agreed in order to develop an effective building design.

xiv
 introdUCtion

Stage 7 0 1 2 3 4 5 6 7
In Use Strategic Preparation Concept Developed Technical Construction Handover In Use
Definition and Brief Design Design Design & Close Out

Review/ Book 1:
analysis Briefing
In Use Strategic Concept
Data Brief Design

Design/ Book 2:
synthesis Design
Final Project Developed
Brief Design

Delivery/ Book 3:
process Construction
Technical Construction Handover
Design

0.1
The stages of the Plan
of Work 2013 and their
role as review, design
or delivery.

xv
Briefing
a practical guide to riba plan of work 2013
Stages 7, 0 and 1

The third book in the series starts at the end of Stage 3, once the design
has been coordinated. It describes how to turn the Developed Design into a
Technical Design that will enable the project to be constructed, handed over
and then to become part of ongoing assessment during Stage 7. It deals
with the role of the project team during construction and what happens
at Stage 6 when the building is handed over to the client. This process
completes the circle with the start or continuation of Stage 7.

What is this book about?

This book is about ensuring that a project is set up well, so that future
design and construction stages deliver what is needed by the client and
what will work for those who will use the building. It is about ensuring
that the information used to set up a project is based on evidence, is well
documented and is discussed and agreed with the relevant parties. It is
about the processes that are set out in the Plan of Work 2013 to help ensure
that things go smoothly and that money, time and effort are not wasted.

The book is about asking questions, defining aspirations and outcomes,

testing what works now and what is needed in the future, and examining
what is deliverable. It is about making sure that once a project team are
appointed to progress the design and construction of a project, what they do
can be completed successfully.

Stages 7, 0 and 1 under the microscope

All built projects are a response to a question, problem or need that relates
to a client or user group. To achieve a successful start to a new project it is
important to first understand how similar ‘questions’ have been answered by
others in terms of design, construction and in-use performance.

The gathering of information on how a completed building project performs

in use is the purpose of Stage 7 of the Plan of Work, and is covered in
Chapter 2 of this book. This chapter sets out what information should be
gathered when and by whom, and how it might be used and shared to
support the building owner or user, various user groups and a project team
who are starting out on a new project. It is also about how information
is shared with others interested in similar building types, organisational
structures or technical or environmental strategies, and how these impact on
those who will use and run the finished project.

Stage 7 In Use is located at the very beginning of the series because all
building projects need to learn from the experience of others. We need to

xvi
 introduction

gather and share this information so that we can avoid repeating mistakes
and can learn from evidence of what works: for people, in cost terms and for
performance in use. Currently, much of the evidence used in creating new
buildings is empirical, and this book makes a strong case for more rigorous
data collection and analysis on a range of diverse issues – including how
buildings make people feel and respond to their environments, and technical
performance. This knowledge and information is the feedback/feedforward
loop at the heart of achieving good outcomes at the end of the briefing,
design and construction process.

Prior to the Plan of Work 2013, there was no formal process for any linkage
between the end of one project and the start of another. The circle of stages
established in the Plan of Work 2013 proposes this link at Stage 7 into
Stage 0 as an important part of the process of creating an effective building
or proiect. This guide explains how this linkage between the construction
stages of one project and the definition and briefing of another project – via
robustly collected and effective analysis, and in-use data – is intended to
work.

Chapter 3 is about Stage 0 Strategic Definition, that time – before a project

is a fully formed or defined idea – when a client and supporting team are
working out the right approach for a particular set of circumstances and
whether it has a sound business case. This chapter covers who is likely to
be needed at this stage to assist and support the client, the methods that
they might use to define and test a project, and the requirements for a good
strategic brief that will form the basis of future work.

One of the key milestones in any building project is to do with being clear
when that project has been successfully defined and is ready to set off on
its progress through to briefing in Stage 1 and through the rest of the Plan
of Work. The tests for knowing if you have reached the end of Stage 0 are
covered in this chapter, as well ensuring that client objectives and vision are
articulated, funding streams are identified and key information about the site
is in place.

The final chapter in this book, Chapter 4, is about Stage 1 Preparation and
Brief. It is concerned with the formulation and content of the Initial Project
Brief, which will be the starting point for design work in Stage 2. It is also
about the project team that will do the work to produce the Initial Project
Brief in Stage 1 and additionally about the process for identifying and
scoping the broader project team needed from Stage 2 onwards, some of

xvii
Briefing
a practical guide to riba plan of work 2013
Stages 7, 0 and 1

whom may be the same people that have already been involved during
Stages 7, 0 and 1. The roles of different team members and the skills that
are required at this stage are also highlighted.

As the basis for future design work, getting the brief right is the key
consideration. In order to achieve this, technical and baseline information
needs to be in place, the client aims and objectives need to be fully
understood and the capacity and feasibility of the site needs to be tested,
building on the Strategic Brief and Business Case completed during Stage
0. Projects that proceed without having successfully completed Stage 1
– and that do not have a decent, tested brief in place – invariably involve
abortive work and delay for the project team, as these things are worked out,
and added costs for the client. The purpose of defining this stage clearly is
to minimise the risk of later delay, additional cost and abortive work, and to
make sure that the team can concentrate fully on the task in hand.

How to use this book

This book starts at stage 7 to illustrate the circular nature of the plan of work
and to make the point that all projects must learn from those that have gone
before.

However, whilst starting at 7 is obviously the best way to get the full detail of
each stage and its transition to the next, it is also fine to start with the other
chapters that may relate more specifically to issues you may be dealing with.

xviii
introduction

xix
CHAPTER 01
 Starting
StageS 7, 0
and 1
 Starting StageS 7, 0 and 1

CHAPTER 01

overvieW
This chapter provides an overview of the core objectives at Stages 7, 0 and
1 and how they impact on the project team. It will describe the range of
starting points that may be relevant for projects starting Stage 7 and those
starting Stage 0, and the information that may be expected to be in place
for each. The core part of this chapter summarises the scope and content
of each of the eight task bars in the Plan of Work, and how each of these
impact on the stages covered in this book. Finally, it will provide a summary
of where our sample projects should be before the start of Stage 7.

3
Briefing
A PRACTICAL guIDE To RIBA PLAN oF WoRk 2013
STAgES 7, 0 AND 1

What iS in the
eight taSk barS
at Stages 7, 0 and 1?

Within each stage of the plan of work there are eight task bars describing
the key activities that need to be completed in order for the project to
progress through the stages. The main tasks are always the core objectives,
supported by a range of activities in the other task bars. It is important to
understand that the Plan of Work is not intended to deal with all of the
subtle and varied activities of every project – rather, that it is a guide to
inform the development of focused and specific project information, and a
framework for making structured progress.

A key strength of the Plan of Work is that, in one form or another, all of the
core objectives and the task bars will apply to all types of project.

Task Bar 1: Core Objectives

This task bar sets out the principal activities for each stage. These will be
the principal focus of each stage, and are those to start with in all cases. At
Stage 7, the task bar refers to undertaking the in-use services that are the
core of this stage, in accordance with the Schedule of Services. For just-
completed buildings or projects, these will be the agreed post-handover
services. The focus at this stage will be on the gathering of data and
evidence about how the building works in use, on both a short-term and an
ongoing basis.

The core objectives of Stage 0 are to work out the core requirements of a
potential new project and to identify the client’s Business Case, in order
to be clear that the project has a financial basis on which to proceed.
The Strategic Brief will define what the project is intended to deliver, and
demonstrate how it has been informed by strategic options appraisal and
site identification. At Stage 1, the objectives become more specific and
focus on defining the project needs and client aspirations. These tasks
include developing Project objectives (including Quality objectives), Project
outcomes, Sustainability Aspirations and a Project Budget. A key task at this
stage is to produce the Initial Project Brief, which will summarise all of this

4
 starting stages 7, 0 and 1

information and will provide detailed requirements and parameters. This work
will be informed by Feasibility Studies and an increasingly detailed review of
site information.

Strategic options appraisal

At a stage in a project when many things are not yet clear,
strategic options appraisal is a useful way of moving things
forward and helping to define what may be possible. Strategic
options appraisal may consider different sites, different amounts
of accommodation or very different ways of supporting the same
core client question. This is not a design exercise in the way in
which a specific design is considered from Stage 2 onwards;
it is about exploring strategic options, site capacity and ideas,
and then setting them out clearly and assessing them against a
broad list of strategic client objectives.

Task Bar 2: Procurement

Procurement relates to both the project team and the contractor, and it is an
area where there are a great range of alternative approaches – often related
to the client and any organisational restrictions or preferences. Although
there are no specific procurement-related tasks in Stage 7, it may still be
relevant. The form of contractor procurement selected during Stages 2 to 4
will influence the need for any new procurement to cover in-use activities,
whether these are part of an existing appointment or whether relevant
members of the project team now need to be put in place.

At Stage 0, initial members of the project team start to be needed and initial
considerations of future procurement are undertaken. Initial considerations
of the contractor procurement options should be included in the Initial
Project Brief during Stage 1, when procurement tasks include preparing
the Project Roles Table and Contractual Tree that will identify the team and
their relationship to the client, both for this stage and subsequent stages.
The team needed to take the project forward from Stage 1 will start to be
assembled now.

5
Briefing
a practical guide to riba plan of work 2013
Stages 7, 0 and 1

Task Bar 3: Programme

Programme is an important consideration in the Plan of Work, and necessary
for all projects. At Stage 7 there are no specific programme-related tasks;
however, the gathering and analysis of in-use information will still need to
be programmed out, and may need to meet specific timeframes if it is to
provide relevant information to inform Stage 0 and Stage 1 of future projects,
or to demonstrate that the delivered project meets relevant regulatory
requirements.

At Stage 0 the Project Programme is established in order to inform the

client’s project considerations and aspirations and as part of the Strategic
Brief. During Stage 1 the programme is reviewed, and may become more
developed as the Initial Project Brief takes shape. The importance of the
programme during these stages will depend on its importance within
the project. It is always the case that Stage 0 and the Strategic Brief are
completed before work commences on Stage 1. The need for a Design
Programme or Construction Programme should be anticipated at this time.

Task Bar 4: Town Planning

The town planning process is a key topic within the Plan of Work, largely
because of its influence on project risk and delivery and the relatively late
point in a project (generally end of Stage 2 or into Stage 3) when this can
be fixed. At Stage 7 there are no specific town planning tasks as these
are mostly completed, and the need to consider any planning issues will
relate very much to the specific needs of each project and any planning
obligations that may have been placed on it.

During both Stage 0 and Stage 1, planning considerations should form

part of the background work to the Strategic Brief and the Initial Project
Brief. This will include a review of relevant planning policy, and may also
involve pre-application discussions with the local authority. Specifically
during Stage 1 town planning should inform any Feasibility Studies that are
carried out and the form and type of future applications that will be needed
should be considered. Some projects may also necessitate anticipation
of future changes to planning policy and encompass the need for making
representations to the plan-making authorities.

Task Bar 5: Suggested Key Support Tasks

This task bar describes the support tasks that are required at each stage.
Support tasks are those elements of the Project Information that help
map out who is required to do what, and where responsibilities and other

6
 starting stages 7, 0 and 1

obligations are expected to lie. During Stage 7 this is about considering

the activities listed in the Handover Strategy, including Post-Occupancy
Evaluation, and other methods for reviewing Project Performance and
Project Outcomes. This stage may also include elements of Research
and Development, and methods agreed with the client to ensure that the
building works as well for them as it can do. This stage, when the project is
in use, is likely to last many years, and during this time Project Information
needs to be kept updated so that it can be used to inform client or user
decisions about its use and operation.

During Stage 0 the key support task is to review Feedback from previous
projects that provide useful background on its use or function, and which
will assist as part of the strategic decision-making process. At Stage 1 a
project switches from ‘what can we do?’ to ‘how should we do it?’, and this
means a clear focus on anticipating project and team requirements in some
detail for the first time. In some cases this information may be preliminary,
but the process of setting it out is an important step in ensuring that things
proceed on an informed basis. The tasks comprising Stage 1 include the
preparation of Risk Assessments and the Handover Strategy, so that these
inform decisions around the brief at the right time. Setting out the Schedule
of Services, Design Responsibility Matrix and the proposals for Information
Exchanges will help to ensure that the right services are put in place for the
right members of the team. Other support tasks during this stage include
putting in place the Project Execution Plan, so that the team knows who
will do what, and how. The Technology and Communication Strategies will
inform how team members will communicate with each other and how they
will share information, including which Common Standards will be used.

Task Bar 6: Sustainability Checkpoints

The sustainability checkpoints ensure that projects are developed in a
sustainable way. During Stage 7 this is about ensuring that the effectiveness
of the building in operation is tested and fine-tuned, and that clients and
occupants are kept up to date about how to get the best from the building.
This will include monitoring energy/carbon performance in accordance with
agreed assessment criteria. At Stage 0 a strategic review of client needs
is carried out, and it is important that all strategic options are considered –
including, with scarcity of resources in mind, not constructing a new building
at all. Initial ideas for sustainability targets will be part of the Strategic Brief.
At Stage 1 the sustainability targets will be confirmed and detailed in terms
of environmental requirements, building lifespan and climate parameters in
the Initial Project Brief.

7
Briefing
a practical guide to riba plan of work 2013
Stages 7, 0 and 1

Task Bar 7: Information Exchanges

Although each project may have different requirements with respect to the
type of information to be included in the Information Exchanges, knowing
what the expected deliverable is will ensure a successful outcome to the
stage. This task bar provides guidance on the type of information to be
included. During Stage 7 this relates to ‘As-constructed’ Information and
Feedback on building performance. During Stage 0 this will focus on sharing
and confirming the Strategic Brief; and during Stage 1, the Initial Project
Brief.

Task Bar 8: UK Government Information Exchanges

This is a specific task bar for government projects, which covers Stages 0
to 6. It relates to the government’s own views on how information should be
exchanged as set out in its 2011 Construction Strategy. The most notable
of these for the stages under consideration relates to Stage 1 and the
Employer’s Information Requirements (EIRs).

Project Performance
Project Performance is in essence a measure and assessment
of both how well the building is working in use and how effective
the processes of developing that building through Stages
0 to 6 were in achieving that Project Outcome. How Project
Performance is shaped and presented will depend on who is
using it and at what stage, from a project team reviewing their
performance, to a client assessing the viability of a building – to
a client and project team jointly gathering evidence to inform
Stage 0 for a new project.

8
Another random document with
no related content on Scribd:
„Hij heeft weer kleur op z’n wangen,” zei dokter, terwijl hij hem een fikschen
kneep in zijn koonen gaf.

Daar kwamen de jongens al aangerend, Karel voorop. Hij schoot direct op Dr.
Reens af en terwijl hij hem vertrouwelijk bij de mouw van zijn jas [85]pakte,
vroeg hij: „Hè, dokter, rijdt u met ons mee, ’t zou zoo moppig zijn.”

„Nu,” zei dokter met een ondeugend lachje. „Een eindje wil ik dan wel
meerijden.” En hij knipoogde eens naar Paul, die wel beter wist.

Nu werd de terugreis aanvaard. Paul zat nu niet op den bok, maar moest
naast dokter zitten, daar die hem dan in toom kon houden als hij soms al te
vroolijk zou worden.

De jongens letten in het geheel niet op, dat mijnheer nergens uitstapte, doch
als ze eindelijk voor hun huis aankomen, vraagt Karel blij: „Gaat mijnheer met
ons mee?”

„Heb je er vrede mee,” vraagt mijnheer.

„Nou en óf,” juichte Karel.

„En mag het nieuwe vriendje dan ook mee aan tafel,” vraagt mijnheer.

Karel kijkt z’n moeder eens aan en als hij deze ondeugend ziet lachen,
begrijpt hij ’t en roept: „O, wat een dag vol verrassingen!”

Alle jongens zijn blij dat die gezellige mijnheer nu bij hen blijft en als vader
thuis komt is ’t een gesnater door elkaar om toch te vertellen wie die vreemde
heer is.

En al heel gauw is ’t ook voor vader geen „vreemde” heer meer en zitten die
twee te boomen of ze elkaar al heel lang kenden. En dan gaan ze allen aan
tafel.

’t Is een reuzen-tafel en mevrouw en nichtje Marie hebben zoo recht feestelijk

en smaakvol gedekt

De heele tafel is versierd met guirlanden van [86]groen en bloemen en hier en

daar staan aardige, kleine lampjes die een gezelligen, warmen schijn werpen
op den feestelijk gedekten disch, en de vroolijke gezichten der aanzittenden.

Ze laten zich het maal smaken en ’t is goed, dat mevrouw rekening hield met
de hongerige jongensmagen.

Als slot van het menu kwam een reuzen-taart op tafel, waarin twaalf kaarsjes
staken, die allen branden. Net zooveel kaarsjes, als Karel jaren telt.

’t Was een alleraardigst gezicht en ’t gaf telkens een pret van belang als
mevrouw een stuk taart uitsneed, waarbij dan weer een kaarsje flauw viel.

Toen de maaltijd afgeloopen was, tikte Ambro met een gewichtig gebaar
tegen z’n waterglas (hij had dit bij een feestje vader eens zien doen) en vroeg
of hij een paar woorden mocht zeggen.

Dit verwekte een algemeen gelach.

En mijnheer Boekers zei vol pret: „steek van wal met je speech, maar maak ’t
niet te lang, want we moeten … hm, hm, we moeten nog ergens heen.”

Ambro trok z’n das eens recht, zette een onweerstaanbaar moppig gezicht en
zei, terwijl hij z’n keel schraapte: „Geachte dischgenooten! Ik geloof dat ik uit
naam van alle jongens spreek, als ik mijnheer en mevrouw Boekers hartelijk
dank voor den heerlijken dag dien we vandaag hadden. En … en … ja, wat
wou ik ook weer zeggen … o ja, dokter Reens bedanken we ook en Juffrouw
Marie en … lang leve allemaal!” [87]

Een oorverdoovend lawaai volgde op Ambro’s schoone speech en de „lang

zullen ze leven’s” waren niet van de lucht.

Toen eindelijk het lawaai ophield zei mijnheer, terwijl hij z’n horloge
raadpleegde:

„Zoo kinderen, nu ga je allemaal met nicht Marie mee naar boven om je wat
op te knappen en dan … nu, dat zullen jullie wel zien.”

Vol verwachting togen ze allen naar boven, en toen ze netjes gewasschen en

gekapt naar beneden kwamen stonden mevrouw en de beide heeren al
gekleed om uit te gaan en werd ze gezegd zich vlug aan te kleeden.
Toen het heele gezelschap op straat stond, werd een tram genomen, waar ze
allen genoegelijk hij elkaar zaten te overwegen wáár ze toch wel heen zouden
gaan.

En toen ze zagen welke route de tram nam, begon ’t eindelijk bij ze door te
dringen dat ze … naar het circus gingen.

En jawel! daar stapten ze al uit, nog een eindje loopen en daar stonden ze
voor het circus.

Het was weer een gejuich van wat ben je me. Vlug werden jassen en
hoofddeksels in bewaring gegeven en namen ze allen plaats in een groote,
voor de feestelijke gelegenheid besproken loge.

O, wat genoten ze van de voorstelling.

Daar had je dien eenigen August de Domme, die nu letterlijk overal te laat
kwam, over alles struikelde en iedereen in den weg liep. De kinderen
schaterden het uit om al z’n malle grimassen. [88]

En dan die prachtige paarden! Jôh! wat renden die er over heen, de kluiten
zand vlogen de toeschouwers om de ooren.

En een mijnheer met gedresseerde hondjes. Hoe kreeg ie ’t gedaan van de

beesten. Moesten ze direct thuis met hun hond probeeren.

IJselijk! die acrobaten! Ze lieten zich uit den nok van ’t circus vallen en
kwamen ongedeerd in het vang-net terecht. Je werd er koud van.

August kwam met een gedresseerd ezeltje, dat volstrekt niet naar hem
luisterde en niets anders deed dan achteruit trappen.

Iederen keer dat het beest zoo deed, maakte August een diepe buiging voor
het publiek, met een gezicht alsof hij zeggen wilde: „Wat zeggen jullie van m’n
dressuur.”

’t Einde van het lied was, dat de ezel weg liep en August, om hem tegen te
houden aan z’n staart ging hangen en door den koppigen ezel het circus
uitgesleurd werd.
Het publiek schaterde van pret en niet ’t minst het jolige troepje in de groote
loge.

Toen in de pauze een kellner kwam met voor ieder een portie ijs op zijn blad,
steeg de vreugde ten top.

Wat zaten ze te smullen! Zulke kleine hapjes namen ze, want ze moesten er
lang wil van hebben.

Dat het ijs in de warmte van de zaal ging smelten, daaraan dachten ze niet en
toen ze een roomachtigen plas zagen komen vonden ze ’t zoo ook fijn. [89]

Ook na de pauze vermaakten ze zich bizonder goed, vooral toen de

voorstelling besloten werd met een alleraardigst ballet.

Hoe schitterden hun oogen bij het zien van al die prachtige costumes en mooi
opgetuigde paarden.

Je wist niet waar je ’t eerst naar zou kijken.

Toen de voorstelling afgeloopen was, verdrongen ze zich allen om mijnheer

en mevrouw Boekers om ze hartelijk dank te zeggen voor dien heerlijken dag.

En toen ging ’t met den tram naar huis, waar Vader of groote broer ze
kwamen halen.

En onderweg stonden hun monden niet stil en werd uitvoerig verteld, hoe
heerlijk Karel Boekers’ verjaardag gevierd was.
[Inhoud]
 DE KUNSTVEILING.

In het hol van Kaan zitten de jongens voor hun doen rustig bij elkaar.

Ambro heeft ze wel een uur bezig gehouden met allerlei caricaturen te
teekenen van bekende menschen. En het was telkens weer een gejuich en
geschater als uit de krabbels mijnheer zus of mevrouw zóó herkend
werden.

Teekenen was Ambro’s lust en leven en de anders zoo ongedurige jongen

kon urenlang rustig blijven zitten als hij zijn schetsboek en potlood ter hand
had genomen.

Zijn teeken-leeraar had dan ook reeds eenige malen het Hoofd der school
er opmerkzaam op [90]gemaakt, dat de jongen een uitgesproken
teekentalent had.

Dat was door dezen aan Ambro’s ouders overgebracht, doch meneer
Terbrugge vond zijn zoon nog te jong om daar nu al over te denken en was
van meening dat hij eerst de Hoogere Burgerschool moest bezoeken en
men dan kon zien welken kant men met Ambro uit moest.

Ambro zelf dacht over dit alles weinig na; hij teekende, omdat hij er den
drang toe voelde, doch voorloopig was zijn hoogste ideaal clown te worden
en het dient gezegd, ook dáár had de jongen, met zijn geestige, luimige
invallen en z’n bewegelijk gezicht veel aanleg toe.

Maar.… clown is een beroep, dat je nu niet bij voorkeur voor je zoon
wenscht en Ambro’s ouders brachten, door verstandig met hem te praten,
hun jongen onder het oog hoeveel mooier dit beroep lijkt, dan ’t in
werkelijkheid is.

„Ik schei er uit,” riep Ambro plotseling en smeet potlood en schetsboek op

den grond.
Maar nu volgde de altijd weerkeerende strijd van de jongens om de
teekeningen. Chris gooide zich in z’n volle lengte op het boek en hield het
krampachtig onder zich.

De andere jongens buitelden over hem heen, rukkend en trekkend om toch

het boek te bemachtigen.

Ambro keek met welgevallen naar den strijd.

„Hou vast, Chris!” moedigde hij aan. „Wie me boek vernielt kan ’t betalen!”
[91]

Chris lag te hijgen onder het gewicht van die kluit jongens boven op hem
en eindelijk gaf hij den ongelijken strijd op.

Juist wilde Karel hem het boek afpakken, toen Ambro met een vluggen
sprong toeschoot en zich er meester van maakte.

„Ik ga ze veilen,” zei hij in een van die plotselinge opwellingen die ze altijd
weer een nieuw pretje bezorgde.

„Wie heeft ’t spieje bij zich?”

„Zeg, jôh, keetig!” zei Puckie verheugd. „Ambro is Cocadorus!”

„Eerst spieje zien!” gilde Ambro.

De roovers keken bedenkelijk. ’t Was het einde van de week en dan was er
meestal niet veel meer over van het toch al niet zoo ver-reikende
weekgeld.

„Ik heb nog een dup,” juichte Paul, terwijl hij uitgelaten rond sprong.

„Wat een lefschopper!” riep Piet nijdig. „Daar kan ie warempel het heele
boek wel voor koopen!”

„Ben je van Lotje getikt!” zei Ambro diep-beleedigd. „Ja! ik zal ze daar voor
zoo’n koopie laten! An me nooit niet!”
„Ik heb twee spie,” zei Chris.

„Ik vijf,” zei Puckie. „Maar ik mot nog twee spie apart houden voor een
zijrups van me zus.”

Karel Boekers keek bedrukt, keerde z’n zak om en om, maar vond niets
anders dan een stukje gum, twee knoopen, drie spijkers, een catapult en
een klein opschrijfboekje dat hij van z’n zus weggekaapt had. [92]

„’t Is niet veel,” lachte Ambro. „De schetsen van den beroemden teekenaar
Ambrosius Terbruggios zijn meer waard, mijne Heeren! Maar vooruit, we
zullen ze toch veilen.”

Ambro ging boven op een stoel staan en de jongens stonden in afwachting

van de dingen die komen zouden, om hem heen.

„Geacht publiek,” begon hij en trok bij die woorden een onweerstaanbaar
komiek gezicht.

„Hier brengen wij de teekeningen in veiling van den sinds honderd jaren
overleden grrrooten schilder Ambrrrosius Terrrbruggios.

„Wat zegt u daar, meneerrr? Hij is nog niet dood!! Als een pier, meneerrr!”

Ambro scheurde een teekening uit het schetsboek.

„Hierrr ziet U het welgelijkend evenbeeld van de Oud-tante van den

schilderrr, mejuffrrrouw Petrronella Terrrbrruggios. Tot zelfs de wrrrat op
Haar Eed’les neus is duidelijk zichtbaarrr. Wie bied errr wat voor de wrrrat
van Peterrronella?”

De jongens gierden het uit, Chris vouwde dubbel van de lach.

„Ik bied een spie,” gilde hij.

„Wie biedt er meer dan één spie,” galmde Ambro. „Een spie is te weinig,
het is een familieporrrtrret, mijne Heerrren!”

„Twee spie,” bood Paul.

„Niemand meerrr dan twee spie?

„’t Is te geef, mijne Heerrren, over nog eens honderrrd jaarrr is de wrrrat
het tiendubbele waard! Niemand meerrr!—Eenmaal … andermaal … [93]het
is voorrr den kunstkooperrr Paul!”

Het gaf een gejoel van belang, toen Paul het welgelijkend portret van de
tante met de wrat in handen kreeg.

Wederom scheurde Ambro een blaadje uit het schetsboek en hield de

teekening hoog in de lucht.

„Ziehierrr, mijne vrrrienden, wederrrom een fraaie teekening, ditmaal het

porrrtret van een der leerrrmeesterrrs van wijlen den Heerrr Ambrrrosius
Terrrbrrruggios.

„De kikker!” gilden de jongens door elkaar.

„Die moet ik hebben,” schreeuwde Chris.

„Zal je geleerd worden,” snauwde Puckie.

„Ik heb drie spie en ik geef ze d’r ook voor!”

„Bedaarrr, mijne vrrrienden,” sprak Ambro op denzelfden zalvenden toon.

„Kalmte alleen kan u rrredden! Dit porrtrret [94]heeft grrroote waarrrde. ’t Is

van een historisch geworden perrsoon! De Kikkerrrr was zijn bijnaam, want
hij sprrak niet, mijne vrrrienden, hij kwèkte! Jè, jè, jè!” hier imiteerde Ambro
op schitterende wijze den gehaten onderwijzer, die de jongens met den
bijnaam van „de kikker” hadden vereerd.

„Hou op,” gilde Karel. „’t Is ’m precies, ’t is of ik de vent hoor!”

„Wie bied er wèt voor jè, jè, jè? Een grrroot man, een geleerrrde, mijne
Heerreen!”

„Twee spie,” riep Chris, z’n heele hebben en houwen er aan wagend.

„Drie spie,” zei Puckie tergend kalm.

„Vier spie,” haastte Chris zich te zeggen.

„Je hebt er maar twee,” herinnerde de solide Paul hem.

„Twee moet ie me poffen, betaal ik ’m de volgende week,” zei Chris.

„Geld bij den visch, mijne Heerrren, Jantje Contantje,” lachte de afslager.

„Me opschrijfboekie en me gum zet ik in,” schreeuwde Karel.

„Vijf spie,” zei Paultje, met het air van een millionnair, die, in het zekere
bezit van zoo’n onmetelijk kapitaal, wel zoo’n ongehoord groot bedrag
mocht inzetten.

„Neen, dat is gemeen,” riep Chris verontwaardigd. „Hij heeft de wrat ook
al.”

„Hij heeft de spieje,” plaagde Ambro.

„Me zakboekie en me gum zijn ook niet voor de poes,” lokte Karel. [95]

„Neen,” peinsde de afslager. „Enne … me gum is net op.”

Karel hield ’t zakboekje in de hoogte.

„Voorrr deze meneerrr is het porrtrret van de Kikkerrr!” zei Ambro en reikte
Karel de teekening over.

De anderen hingen direct om hem heen om de teekening nog eens goed te

kunnen zien.

„Jôh! wat is ie fijn! Zeg, Boekie, morgen uit je schrift laten vallen, net voor
z’n voeten.”

„Nee hoor,” zei Ambro. „Geen flauwsies! hij heeft toch al zoo de pik op me.”

„Toe Ambro, nou de andere veilen,” drong Chris aan.

„Nee hoor, ik word zoo schor als een kip en ’t verveelt me ook.”

„Hè jakkes, jôh, wat flauw! Nou hebben Chris en Piet en ik niks,” zei Puckie
spijtig.

„Nou, weet je wat, geven jullie dan ieder twee cent, dan krijgen jullie er
een.”

„Effe kijke of ik heb,” zei Piet en hij grabbelde in zijn zak. „Een spie en een
kapotte vingerhoed. Hebbe?” vroeg hij.

„Nou, vooruit maar,” zei Ambro.

Piet kreeg „Ouwe juffrouw Hardwijk”, de juffrouw uit de kiosk bij den
Dierentuin, Chris kreeg „de bullebijter” een van de suppoosten en Puckie
werd de gelukkige eigenaar van het welgelijkend conterfeitsel van
„Alebes”.

„Hoeveel heb je nou,” vroeg Paul belangstellend.

„Effe kijke,” bromde Ambro. „Dat is twee spie [96]van Paul, twee van Chris
en twee van Puckie is zes, wat een snert-zooi! Kà-je haast niks voor
koopen.”

Ambro, blijft even in gedachte zitten. Dan springt hij plotseling op en terwijl
z’n oogen schitteren roept hij:

„Ga mee, knullen, we gaan naar „de hazelip”, in de Tuinderstraat

kaneelhompen halen. Ik fuif jullie.”

En joelende verlaat de heele bende het hol om zich naar de Tuinderstraat

te begeven en de opbrengst van de veiling om te zetten in kaneelhompen.
[Inhoud]
 DE MISLUKTE NACHT-WANDELING.

De jongens komen op een dag samen uit school.

„Ik heb zoo’n zin om iets uit te halen,” zegt Ambro.

„Ik ook,” zegt Chris. „Hè, ’t was zoo saai op school. Ik snapte geen
snars van die sommen.”

„Zeg, jôh, wat had de oude een bui, hè?” zei Piet, met weinig eerbied
over zijn leermeester sprekend.

„We hebben ’m ook maar niet getreiterd,” zei Paul berouwvol.

„Mot ie maar niet zoo’n saaie frik zijn,” zei Puckie zonder erbarmen.

„Neen, dan meneer Riedel, hè?” zei Ambro. „Wat een echte knul,
hè? Dat is nou ’n vent waar je van op an kunt.”

„Nou, maar hij is ook niet malsch,” vond Paul. [97]

„Nou ja, hij is streng, maar hij kan zoo fijn met ons meedoen en ik
weet zelf niet, ’t is een knul!” besloot Ambro zijn lofrede op een der
onderwijzers.

„Wat zullen we nu eens uithalen?” vroeg Chris, die bang was dat
door al dat praten de plannen voor den een of anderen
schelmenstreek er bij in zouden schieten.

„Ik hèb een plan …” zei Ambro en hij keek in ’t rond, of iemand ze
ook kon beluisteren.

„Wat is ’t,” riepen de jongens om ’t hardst.

„Nou, ik lag vannacht wakker, en het maantje scheen zoo fijn in m’n
kamertje enne … toen dacht ik … dat we es een nachtelijke tocht
moesten maken.”

„Verroest!” zei Chris van louter verbazing gebruik makend van een
zeer onwelvoegelijk woord.

De anderen waren te zeer overweldigd door het grootsche plan om

iets te kunnen zeggen.

Paul krijgt ’t eerst z’n bezinning terug.

„Dàt doe ik niet,” zegt hij vastbesloten.

„Bangerd! durf je niet,” sart Chris.

„Ik durf best,” zegt Paul, maar z’n stem klinkt weinig heldhaftig.

„Nou, waarom doe je ’t dan niet?”

„Omdat ik er niet uit kan komen zonder dat mijn ouders het hooren,
ik slaap vlak naast ze en ’t is zoo gehoorig bij ons.”

„Nou, dàn niet,” zegt Ambro kort.

„Ik voel er ook niet veel voor,” zegt Karel.

„Hè, bah! wat een snert-knullen! Met jullie is [98]nou ook niks te
beginnen,” zegt Ambro nijdig.

„Ik slaap niet m’n kleine broertje samen en die kan ik toch niet alleen
laten,” zegt Karel, half beschaamd, want hij is dol op het jongste
broertje en bang, dat de jongens hem er om zullen uitlachen.

„Hè, wat een meissie ben jij,” zegt Ambro, die zoo’n geringschatting
heeft voor het vrouwelijk geslacht, dat hij geen beter woord weet te
vinden om uiting te geven aan zijn verontwaardiging.

„Hoepelen jullie dan nou ook maar op,” laat hij er kwaad op volgen.
„Want dan hebben jullie met onze plannen niks te maken.”

„Mij best,” zegt Karel, innerlijk zeer beleedigd, maar zich groot
houdend.

„Ga je mee, Paul?”

Na een kort „B’sjour” tot de anderen, gaat het tweetal weg.

„Dag meissies! Plezierige wandeling,” roept Puckie plagerig.

„Schei uit,” zegt Ambro norsch. Hij heeft ’t land dat er twee van ’t
troepje zullen ontbreken, en heel diep in z’n binnenste voelt ie wel
dat zijn plagerij misplaatst was. Karel heeft zich nog nooit als een
meisje gedragen.

Maar z’n ontstemming wijkt al gauw bij ’t vooruitzicht van het

nachtelijk avontuur.

„Hoe zullen we ’t aanleggen?” vraagt Chris, die de mogelijkheid van

de onderneming nog niet zoo vast ziet staan.

„En waar gaan we heen?” vraagt Puckie. [99]

„Nou, ik had gedacht, als we nou es om twaalf uur op den Nieuwen

Binnenweg, een paar huizen van ons af, bij elkaar komen,” zei
Ambro. „En dan gaan we de Delfshavensche Schie langs en komen
langs Overschie weer terug. Zullen jullie es zien, wat een emmesse
tocht dàt is!”

„’t Is heldere maan,” zei Chris. „Wat zal dat echt zijn.”
„Laten we nu eens afspreken, hoe we er ’t beste uitkomen,” zei
Ambro. „Als je dat niet goed voor mekaar hebt, lukt het niet.”

„Hoe kom jij er uit, Ambro?” vroeg Piet.

„O, man, dat zal me niet glad zitten. Uit ’t raam kan ik niet klimmen,
want ik slaap op de tweede verdieping en ik heb heelemaal geen
houvast. Liep d’r nou een goot of zoo langs, maar niks, hoor! Ik moet
nou maar als alles in huis slaapt, op me kousen de trappen af, dan
neem ik me laarzen in me hand, enne dan doe ik stiekum de knippen
van de deur en dan moet ik het raampie open laten, anders kan ik er
niet meer in als we terugkomen.”

„Nou,” zegt Chris. „Dat zal wel lukken.”

„Ja,” zegt Ambro. „Jij hebt makkelijk praten, ik zie ’t jou doen, twee
trappen af zonder dat ze je hooren.”

Piet Kaan heeft ’t veel makkelijker, die slaapt in een kamertje vlak bij
den tuin, hij hoeft zich maar uit ’t raam te laten zakken en dan over
de heining te klauteren en hij is buiten.

Maar voor z’n lust tot avonturen is dit veel te [100]gemakkelijk en hij
besluit een touw om zijn middel te doen, het andere einde vast te
binden aan een poot van het bed en zich zoo naar beneden te laten
zakken.

Chris slaapt aan den voorkant en is met één sprong op straat en

Puckie slaapt op de eerste verdieping, doch kan met een beetje
moeite en voorzichtigheid langs het balcon naar beneden komen. ’t
Is een tocht die hij reeds zóó vaak bij dag ondernomen heeft, dat hij
er niet tegen opziet die in het nachtelijk duister te volbrengen.

„Ik heb een dievenlantaarn,” zegt Piet.

„Die heb je toch niet noodig, kalf! We hebben volle maan!”

„En tòch neem ik ’m mee,” houdt Piet vol. „En me lasso en me pijl en
boog ook.”

„Allemaal overlast,” bromt Ambro.

Intusschen zijn ze het punt genaderd waar hunne wegen zich

scheiden.

Ze spreken nog eens secuur af om twaalf uur precies op den

Nieuwen Binnenweg te komen. Mocht een van hen allen niet op den
afgesproken tijd present zijn, dan zouden de anderen tot kwart over
twaalven wachten en dan op stap gaan.

Chris en Puckie, die vlak bij elkaar wonen gaan samen weg, Ambro
en Piet blijven nog even het plan bespreken.

„Als ze ’t thuis maar niet in de smiezen krijgen,” zegt Piet, die zich
wat minder zeker begint te gevoelen.

„Dat zou je eigen stommieteit zijn,” antwoordt [101]Ambro. „Als alles

stil is, piep je ’m voorzichtig en maak geen kabaal, want dan ben je
verloren, man! Ik ben er ’s nachts al eens in m’n eentje op uit
geweest, maar dat is niks gedaan, je hebt heelemaal geen pret. Wat
een stilte, zeg, als zoo’n heele stad maft. Héél wat anders dan over-
dag.”

„Hoe laat komen we weer thuis?” vraagt Piet bezorgd.

„Om vier uur, want dan wordt het licht. Je durft toch wel, zeg! anders
blijf je ook maar thuis. Even goeie vrienden!”

„Durven? O, natuurlijk durf ik,” laat Piet er gauw op volgen, bang, dat
Ambro hem van lafheid mocht verdenken.
Eigenlijk vond hij het heele avontuur een beetje gewaagd, maar hij
liet het niet merken.

„Ik zal op tijd zijn,” beloofde hij Ambro en hij holde weg.

Thuis gekomen, blijkt Piet erg zenuwachtig te zijn en verscheidene

malen hoort hij niet eens dat hem iets gevraagd wordt.

„Wat doe je toch vreemd, jongen,” zegt zijn moeder bezorgd. „Er is
toch niets gebeurd? Was op school alles goed?”

„Doe ik vreemd?” zegt Piet kwasi-verwonderd, maar tegelijk komt er

een roode blos op z’n wangen.

Het huichelen gaat Piet slecht af; hij is gewend niets voor zijn ouders
te verbergen en vooral moeder alles te vertellen wat er in hem
omgaat.

Avontuurlijk was hij in hooge mate en dat wisten [102]zijn ouders ook
wel. Dol was-t-ie op Indianenverhalen en hij voelde zich vaak het
opperhoofd der Inka’s. Maar, dat alles alleen in zijn verbeelding of in
onschuldig jongensspel.

Maar nu dat plan van Ambro, jongen, ’t leek hem toch wel wat kras.

Eerst had hij het erg toegejuicht, want fijn was het, maar … zoo
stiekum er ’s avonds van door te gaan … het zou hem moeilijk vallen.

Moeder ging gelukkig niet door met vragen en vader had even van
zijn courant opgekeken, maar gelukkig niets gezegd.

Na het eten nam moeder hem even apart, dat deed ze wel meer, en
Piet herinnerde zich heel wat gesprekken met z’n moeder, waarin ze
hem voor veel leelijks en kwaads gewaarschuwd had.
„Is er nu heusch niets gebeurd, jongen?” vroeg ze. „Heb je ook
gevochten?”

„Wel nee, moeder,” stelde Piet haar gerust.

„Is er dan misschien toch iets op school voorgevallen?”

„Neen moeder, ook niet.”

Moeder dacht eens even na en keek haar jongen aandachtig aan.

„Neen Piet,” zei ze ernstig. „Je verbergt iets voor me. Maar ik zal je
er niet meer om vragen en liever wachten tot je ’t me uit jezelf vertelt.
Je weet, jongen, dat je moeder alles kunt vertellen.” Daarop verliet
ze hem.

Piet voerde een zwaren strijd met zichzelf. Zoo gaarne had hij zijn
moeder de waarheid gezegd, [103]maar het was niet zìjn geheim
alleen, hij zou daarmee zijn makkers hebben verraden.

En dàt stuitte Piet tegen de borst.

Hij besloot dus, zijn belofte aan Ambro te houden.

De avond verliep als alle avonden. Piet maakte zijn huiswerk, bleef
nog een uurtje in de huiskamer zitten lezen en ging op den gewonen
tijd naar bed.

Bij het goeden nacht zeggen viel ’t zijn moeder weer op, dat de
jongen anders was dan gewoonlijk, en het verontrustte haar zeer.

Ze nam zich voor nauwkeurig op haar jongen te letten.

Totnogtoe was dit bij Piet niet zoo noodig geweest. Alle
schelmenstreken werden altijd naar waarheid opgebiecht en de